This is an excerpt from the all-new March 2015 issue of Guitar World, which features an interview with Black Sabbath's Tony Iommi and Geezer Butler. For the rest of this interview, plus our guide to the 30 greatest classic Black Sabbath songs, plus gear views, tabs, lessons and more, check out the March 2015 issue of GW at the Guitar World Online Store.
It’s rare that a band emerges and, with one inspired release, simultaneously launches and perfects a genre of music.
Such is the singular case of Black Sabbath. Their 1970 self-titled debut, which celebrates its 45th anniversary this year, took the heavy blues and hard-rock idioms that came before and infused them with anthemic tritone riffs, doom-laden drum tempos, maniacal vocals and diabolical lyrics.
Black Sabbath’s pioneering sound would later be christened heavy metal, and in many people’s minds that album still reigns supreme as the best representation of the genre. Many influential bands in their own right have come along and made contributions to heavy music, but all of them—from Judas Priest and Van Halen to Metallica and Soundgarden—hail the supremacy of Black Sabbath.
Below, enjoy an excerpt from Guitar World's new interview with Black Sabbath's Tony Iommi and Geezer Butler. Interestingly enough, Butler—who was arrested in California this past Tuesday for assault and vandalism—discussed fighting, including a brawl with skinheads that took place several decades ago.
GUITAR WORLD: Geezer, you’ve mentioned before that “Fairies Wear Boots,” [from 1970’s Paranoid] was inspired by a confrontation you guys had with skinheads. Being a longhair yourself, did you run into a lot of problems in England back then?
GEEZER BUTLER There used to be fighting all the time. I used to be a football [soccer] fan—well, I still am—and I’d go down to watch the [Aston] Villa [Football Club]. I had long hair at the time.
Then this one day, the skinheads, or hooligans, turned on the people with long hair, even though we were fans too. So after that I couldn’t go down there. This other time we did this gig in the seaside town of Weston-super-Mare [in North Somerset, England], and we had a fight with all these skinheads. I think that’s where the lyrics for “Fairies Wear Boots” came from.
Do you remember what kicked off the fight?
BUTLER We didn’t get paid! [laughs] I was the one that used to go collect the check. We’d had this problem where we’d go collect our money and the guy would go, “Oh no, we sent the check in the post [mail].” We were promised that we’d get the money on the night, so I went to the promoter to get it. And he said, “Oh, I already sent it to your manager.”
I went outside to the telephone to make a call to the manager and I got surrounded by all these bloody skinheads, going, “Kill him! Kill him!” So I had to time it right so I could throw the phone at them and leg it back into the gig. [laughs] I told Tony, and of course he said, “Come on, let’s go.” And he grabs a microphone stand and we went out for a battle with them. Fucking nuts.
Parental groups and decency nags always bemoan the satanic and occult allusions in Black Sabbath lyrics. But Geezer, you were also writing about current social issues, too, on the track “War Pigs.” Were you following the Vietnam War, Civil Rights movement and political unrest going on at the time in the United States?
It was actually being covered more [in the press] in England than in America. They had this program on in England, and it showed all the stuff that wasn’t being told to the American people. Stuff like how the president [Lyndon Johnson]’s wife, Lady Bird Johnson, had this road-building company. The Americans would go in and bomb all these roads [in Vietnam]. Then her company would go in and rebuild them and get the money. They weren’t saying all that in America. We wrote “War Pigs” because many American bands were frightened to mention anything about the war. So we thought we’d tell it like it is.
In 1971, you released Master of Reality, which saw the band experimenting a bit more with tracks like “Solitude” and the acoustic instrumental “Orchid.” Tony, had you always played acoustic or did you pick it up around that time?
TONY IOMMI No, I never played acoustic that much at all really. I don’t even remember where we did that track, to be honest. I think the idea on the album was to have a bit of light and shade and relax it from the heavier stuff.
Speaking of heavier stuff, what were you coughing on during that intro to “Sweet Leaf”?
IOMMI [laughs] I choked me bloody self! It wasn’t intended to happen, and it wasn’t supposed to be on the track. We were in the studio tracking that song, and Ozzy gave me a joint and I nearly choked myself. The tape was on, so of course they wanted to use it to begin the track.
BUTLER You couldn’t have gotten anything more appropriate for a song called “Sweet Leaf.” [laughs]
That’s the truth. But the title “Sweet Leaf” was actually inspired by a different type of smoke, right?
BUTLER Yeah the name “Sweet Leaf” came from the [Irish brand of] cigarettes called Sweet Afton. I’d just come back from Dublin. Everyone smoked back then, so I’d be offering them all cigarettes. You’d open the top of the package and it said something like, “It’s the sweet leaf.” I thought, Hmmm, That’s a good title.
The following year, Sabbath headed to Los Angeles’ Record Plant Studios to track Vol. 4, on which you broke new ground with “Changes.” It’s a piano ballad, and the lyrics are quite touching, which makes it a very unusual track for Sabbath.
IOMMI It was a sad track as well. We were staying in this house and there was a ballroom with a piano in it. It was back in the days of doing a bit of blow and staying up late. And I just started playing and coming up with this idea. We had a Mellotron and Geez started to play the orchestrations. It fit well and came about pretty quickly, considering we’d never done anything like that before.
Photo: Ross Halfin
This is an excerpt from the all-new March 2015 issue of Guitar World, which features an interview with Black Sabbath's Tony Iommi and Geezer Butler. For the rest of this interview, plus our guide to the 30 greatest classic Black Sabbath songs, plus gear views, tabs, lessons and more, check out the March 2015 issue of GW at the Guitar World Online Store.
